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Tesis sobre el tema "Zobra"

Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 10 de febrero de 2022

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1

Grundström, Mickey. "Varde ljus : Korridorbelysning för offentlig miljö - ett samarbete med zobra". Thesis, University of Kalmar, School of Communication and Design, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:hik:diva-1688.

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Mitt Examensarbete våren 2009 har skett i samarbete med zobra, ett belysningsföretag med bas i Vimmerby. Deras inriktning är att utveckla, tillverka och marknadsföra funktions-riktig belysning med god design för offentlig miljö.

Jag tog själv kontakt med zobra inför examensarbetet och har inte utgåttfrån ett specifikt uppdrag, men i samstämmighet med företaget har jaglagt fokus på att tillföra något i deras produktsegment Inredning och dekoration.

Målet med projektet har varit att, med ett nära samarbete med zobra, ta framen korridorbelysning vars produktion kan ske helt lokalt. Den tänkta platsenför belysningen är satt till hotell där användaren är både gäst och anställd.

Jag har valt att kalla den slutliga produkten Papercut. Namnet kommer från tillverkningens likheter med att klippa och vika papper vilket de flesta kan knyta an till.

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2

Karlsson, Michael. "En lekfull armatur : Ett examensarbete vårterminen 2009 tillsammans med zobra". Thesis, University of Kalmar, School of Communication and Design, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:hik:diva-1701.

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Mitt examensarbete våren 2009 har gjorts i samarbete med belysningsföretaget zobra, som är beläget i Vimmerby. Uppdraget har handlat om att ta fram en armatur till deras relativt nystartade linje ”inredning och dekoration”, en armatur som är dekorativ. Arbetet har till stor del handlat om armaturens uttryck och ljus samt färg och form.Eftersom zobra inte har en etablerad kundkrets för ”inredning och dekoration”har arbetet även fokuserat kring att ta fram en potentiell framtida kund och göra en armatur som kan uppfylla dennes behov.I mitt projekt valde jag att jobba mot hotellfoajéer där armaturen ska locka besökaren att sätta sig i foajén, men den ska även belysa den på ett behagligt sätt för hotellets personal och besökare.När jag planerade produktionen av den här lampan ville jag att dess tillverkning skulle vara miljövänlig och enkel. Detta påverkade materialvalen jag gjorde under arbetet. Målet var att använda få material för att hålla det miljövänligt framförallt vad det gäller återvinning.Min slutliga produkt heter Tool. Namnet uttrycker vad du ser i armaturen och ger en förklaring till dess ursprungliga inspirationskälla.

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3

Tyrrell, Genevieve. "Zora". Master's thesis, University of Central Florida, 2013. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5723.

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This mixed-media memoir uses a variety of forms from short epigrammatic essays to straightforward stories and graphic narratives to explore the author's coming-of-age experiences augmented by chronic illness. Trying to succeed in the film industry, romance, and family situations, the young female narrator navigates the often unexpected or disappointing consequences of having an autonomic nervous system disorder. Relationships between conflicting identities emerge—between healthy versus sick self, projected/envisioned versus actual self, and tough versus vulnerable self—as the narrator journeys toward a more complete and accepting self-understanding.
M.F.A.
Masters
English
Arts and Humanities
Creative Writing

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4

Alexander, Kerri J. "Vivacity: Discovering Zora Through Her Words". Master's thesis, University of Central Florida, 2012. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5098.

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In its simplest form, storytelling is the passing of information from one person to the next. When storytelling illuminates time, place and purpose, it is then able to entertain, comfort and transport any listener. As the keeper of the imagination, the storyteller has inspired me as a performer. After reading Zora Neale Hurston's Every Tongue Got to Confess, I found my single-defining connection to the art of storytelling. Halimuhfack ultimately became my thesis performance piece inspired by the folk tales from Every Tongue Got To Confess. The new theatre piece shares Hurston's folk tale the way it may have once been told; in its natural dialect, with the same active physical involvement as if sharing stories with friends. Together, the research of the folk tale, Hurston's anthropological studies, folk songs and narrative from her autobiography aided in the development of the performance piece. In developing this work, I discovered that Hurston's tales were extremely action-oriented and were ideally suited to use in my making of Halimuhfack.
ID: 031001566; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Adviser: .; Title from PDF title page (viewed August 26, 2013).; Thesis (M.F.A.)--University of Central Florida, 2012.; Includes bibliographical references (p. 55).
M.F.A.
Masters
Theatre
Arts and Humanities
Theatre; Musical Theatre

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5

Noel, Carol Anne. "The function of folklore in Zora Neale Hurston's Their eyes were watching God". Connect to resource, 1985. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1169742815.

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6

Francis, Terri Simone. "Dust and shells : Zora Neale Hurston's literary legacy". Honors in the Major Thesis, University of Central Florida, 1993. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/115.

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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.
Bachelors
Arts and Sciences
English

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7

Davis, Mella. "Zora Neale Hurston: The Voice of the Goddess". TopSCHOLAR®, 1991. https://digitalcommons.wku.edu/theses/2237.

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Zara Neale Purston has re-emerged as an author of promise due to the re-appraisal of her works led by Alice Walker and Robert Hemenway. In both literary and folklore academic circles, Hurston's work has been reclaimed by African-American female scholars and writers, but still a significant study has yet to be done about her ethnographic contributions to folklore and her farsightedness in fieldwork methodology. This thesis seeks to validate her work as a folklorist, thereby dismissing the charges of popularization and amateurishness by re-examining her work. Mules and Men and Jonah's Gourd Vine are Hurston's two most influential folklore texts and will be evaluated for their approach and contribution to the study of ethnography.

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8

Mengsteab, Elsabeth. "Skilled attendance at delivery the case of zoba Anseba, Eritrea /". Bloemfontein : Centre for Development Support, University of the Free State, 2006. http://books.google.com/books?id=dQDbAAAAMAAJ.

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9

Fraile, Marcos Ana María. "Zora Neale Hurston y su aportación a la literatura afroamericana". Salamanca : Ediciones Universidad de Salamanca, 1996. http://catalogue.bnf.fr/ark:/12148/cb411523155.

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10

Sittig, Jennifer M. "Zora Neale Hurston and the Narrative Aesthetics of Dance Performance". FIU Digital Commons, 2015. http://digitalcommons.fiu.edu/etd/2303.

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Zora Neale Hurston’s literature involves dance and performance. What makes this a viable topic of inquiry is her texts often exhibit the performative, whether portraying culture or using dance and associated folk rituals to create complex meaning. Hurston’s use of black vernacular and storytelling evokes lyrical expression in "Their Eyes Were Watching God." African and Caribbean Diasporas in Hurston’s literature reflects primitive dance performances and folklore. This novel requires lyrical analysis. The storytelling feature of performance arts and reclamations of the body are present in Hurston’s text. In recent academic settings, the body has come to occupy a crucial place in literary and cultural texts and criticism. Hurston’s versatile material and anthropology techniques are instrumental in reshaping dance history. A new archetype for theorizing the body has surfaced, where the body of text is performance and lyrical expression.

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11

Callan, Stephanie Ann. "The anthropological modernisms of Lady Augusta Gregory and Zora Neale Hurston /". view abstract or download file of text, 2007. http://proquest.umi.com/pqdweb?did=1404336841&sid=1&Fmt=2&clientId=11238&RQT=309&VName=PQD.

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Thesis (Ph. D.)--University of Oregon, 2007.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 262-279). Also available for download via the World Wide Web; free to University of Oregon users.

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12

Slavik, Zora [Verfasser]. "Compressive Sensing and Its Applications in Automotive Radar Systems / Zora Slavik". Tübingen : Universitätsbibliothek Tübingen, 2020. http://d-nb.info/1218073195/34.

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13

Kovář, Jiří. "Optimalizace manipulační techniky v podniku Nestlé Česko s.r.o., závod ZORA Olomouc". Master's thesis, Vysoká škola ekonomická v Praze, 2015. http://www.nusl.cz/ntk/nusl-262143.

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This thesis discusses the optimal way of material-handling equipment replacement at Nestlé Česko s.r.o., plant ZORA Olomouc. The theoretical part describes the issue of warehousing in general and focuses on the material-handling equipment and vehicles. The following analytical part focuses specifically on the company Nestlé Česko s.r.o., particularly the plant ZORA Olomouc with the foremost aim of analysing and optimising the current material-handling equipment.

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14

Melling, Rowan. "Resistance as paradox : understanding militant activism in light of Rote Zora". Thesis, University of British Columbia, 2016. http://hdl.handle.net/2429/58941.

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This thesis takes up the question of resistance in light of the surge of social movements throughout the world in the past several years, including the Arab Spring, Occupy, Idle No More and Black Lives Matter. It seeks to advance a new conception of resistance related to paradox by critiquing activist and academic conceptions of resistance and by conducting close readings of the writings and actions of the West German feminist guerrilla cell Rote Zora. Its critiques highlight an inability of certain theories of resistance to deal with resistance transforming into a force of oppression, as well as these theories’ lack of connection to political practice. Out of these critiques emerge the ideas of biopolitical resistance, a diversity of tactics for intervening in oppressions integrated at the individual, social and political levels, and the idea of resistance as paradoxical, having the ability to resist itself. These concepts assist in a close reading of Rote Zora’s writings and actions, which I undertake also using the tools of literary theory and criticism. I argue that Rote Zora promotes a concept of resistance involving paradox, and integrates a form of biopolitical resistance into their political practice. I situate them in the context of the politically tumultuous West Germany of the 1970s, ‘80s and ‘90s, which saw an explosion of militant activism and left-wing terrorism, as well as the rise of an autonomous women’s movement. I argue that Rote Zora offers an alternative to the dogmatic militancy practiced by their better-known contemporaries the Rote Armee Fraktion (RAF). My argument is both theoretical and historical: it draws on Rote Zora to inform a critical concept of resistance that relates to practice, and it promotes a different understanding of militancy in West Germany than the ones which dominate academic discourse by including Rote Zora’s alternative mode of resistance in this history.
Arts, Faculty of
Graduate

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15

N'Dama, Jean-Louis. "La contribution de Zora Neale Hurston à l'éveil de la conscience afro-américaine". Bordeaux 3, 1995. http://www.theses.fr/1995BOR30034.

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Partant d'une perspective socio-historique, anthropologique et litteraire, nous avons montre que l'engouement dont l'oeuvre de zora neale hurston fait l'objet aujourd'hui constitue le meilleur temoignage de son apport a l'eveil de la conscience afro-americaine. Sans doute, sa formation d'anthropologue, ses origines rurales ainsi que les annees fastes de la renaissance de harlem a laquelle elle prit part ont-elles determine ses engagements d7artiste et d'intellectuelle noire. Quand au destin plutot terne de sa carriere, il s'explique surtout par le contexte socio-politique et litteraire de la grande depression qui la place au centre de sollicitations multiples dues aux pressions editoriales et a l'apologi e d'une litterature de combat par les nationalistes noirs et les communistes. Ses travaux d'anthropologie traitent non seulement des croyances et des pratiques du vaudou, mais ils comportent aussi des textes de tradition orale regorgeant de strategies de survie. L'auteur s'en inspire pour investir ses textes de fiction des vertus tant de la pensee imageant e que des techniques de diction relevant du genre oratoire. Il s'agit du "call-and response" et du "signifin(g)" tandis que le balck english recoit ses lettres de noblesse. Les themes abordes dans les ouvrages de fiction refletent egalement son appreciation du folklore afro-americain en tant que facteur d'autonomie culturelle a promouvoir, l'introduction plus affirmee du feminisme noir dans le roman, de meme qu'une certaine vision du concept de double conscience qui habite l'afro-americain. Aussi, l'action des mouvements de revendication d'originalite culturelle des annees 60 et 70 et les tendances nouvelles de la litterature afro-americaine comportent-elles une marque de son influence
Using a socio-historical, anthropological and literary perspective, we have shown that today's infatuation for zora neale hurston's work reflects how much she contributed to african american consciousness. Her anthropological training, her rural origins as well as the harlem renaissance movement to which she took part in fostering black awareness, determined her artistic and intellectual commitments. However, the socio-political and literary context of the great depression afflicted her career as she was subject to pressures from publishers, the black nationalists and the communists. Zora neale hurston's anthropological works provide descriptions in the voodoo pratices and beliefs while her collection of folktales is a set of survival strategies which contains hidden social and philosophical messages. In addition to the use of black english in fiction, these "lies" bring "speakerly" devices such as the call-and-response technique and the language of figuration known as "signifying(g)". Her novels mainly deal with her commitment for the preservation of african american folklore, black feminisism in the nvoel and the african american double-consciousness. Finally, it seems that not only the cultural demands expressed by the black movements in the 1960s' and 1970s', but also the new trends of the african american litterature must have been influenced in some way by zora neale hurston's productions

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16

Walters, Daniel F. "Evaluating Ontario's Drainage Act and wetland management practices, in the case of Zorra Township". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape8/PQDD_0007/MQ42221.pdf.

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17

Zucchini, Camilla. "ZORA JESENSKÁ, TRADUTTRICE Proposta di sottotitolaggio del documentario del ciclo PRVÁ - PRIMA". Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2018. http://amslaurea.unibo.it/16013/.

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Il presente elaborato si concentra sulla proposta di sottotitolaggio in italiano del documentario slovacco Prekladateľka Zora Jesenská, “Zora Jesenská, traduttrice” (2016). Si tratta di una riflessione sulle tecniche di sottotitolazione e di un’analisi delle scelte traduttive fatte dopo aver concluso la redazione di una proposta di traduzione del prodotto originale, basatasi sia direttamente sul parlato del documentario, sia sulla trascrizione in slovacco dello stesso. L’elaborato contiene inoltre una parte che tratta del contenuto del film e del ciclo di documentari slovacchi di cui fa parte. È infatti strutturato come segue. L’introduzione spiega le ragioni che hanno spinto la candidata a scegliere questo tipo di tema e sintetizza gli argomenti dei singoli capitoli. Il primo capitolo tratta della figura della traduttrice slovacca Zora Jesenská, su cui si incentra il documentario, nonché del ciclo Prvá – Prima, in cui si inserisce, insieme ad altre nove produzioni, il film in questione. In seguito, nel secondo capitolo vengono analizzate le tecniche seguite nel campo della sottotitolazione, le scelte adottate per rendere il prodotto finale con i sottotitoli in italiano quanto più possibile fruibile per un nuovo tipo di pubblico. Il terzo capitolo guarda poi alle scelte specificatamente traduttive, grazie ad un confronto dal punto di vista linguistico e lessicale tra la lingua di partenza (lo slovacco) e quella di arrivo (l’italiano). Nelle conclusioni si riassumono brevemente i punti chiave dell’elaborato e si chiarisce il grande potenziale di arricchimento che questo tipo di lavoro può avere.

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18

Robbins, Helen A. "The Ethnography of Zora Neale Hurston: A Postmodern Writer Before Her Time". University of Arizona, Department of Anthropology, 1991. http://hdl.handle.net/10150/112012.

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The recent trend in Anthropology has been to focus on new ways of representing ethnographic experience through the use of interpretive techniques in writing. Although these postmodern approaches are innovative, there are superlative examples of multi-vocality and the mixing of genres in early ethnographic writing. Zora Neale Hurston was one such writer. An African-American, she studied the rural blacks from the South, Haiti, Jamaica, and her home town of Eatonville, florida, and reconstructed their lives and folklore in her novels and ethnographies. We must question why such a gifted writer and ethnographer is rarely read by anthropologists, despite her re-emergence and recent fame in literary and popular circles. An examination of her work shows why her obscurity in anthropology should not continue.

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19

Blanc, Carline. "Écrire le folklore : subversions épistémiques chez Zora Neale Hurston et Toni Morrison". Thesis, Paris Est, 2017. http://www.theses.fr/2017PESC0050/document.

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La thèse s’attache à démontrer comment l’utilisation du folklore, en tant que discipline et que matériau, agit de façon subversive dans les travaux de Zora Neale Hurston et Toni Morrison. Un questionnement autour du folklore (nature et origine des objets d’étude, délimitation et positionnement de la discipline) donne un nouvel éclairage sur des problématiques porteuses dans le domaine littéraire, comme la définition des identités ou la mise en place des relations de pouvoir. Une approche transdisciplinaire permet, en plus de convoquer différents champs du savoir, d’observer de quelle manière ils peuvent s’infléchir entre eux. Par son double statut d’anthropologue et d’auteure de fiction, Hurston incarne une relation d’interdépendance et de dialogue entre matériau littéraire et folklorique. Son œuvre polymorphe, qui entremêle fiction et folklore, langue vernaculaire et écriture poétique, met en relief des enjeux épistémologiques, politiques et littéraires centraux dans l’œuvre de Morrison et permettent de mieux comprendre sa construction d’un discours orienté vers la pluralité et la performance. L’oralité, dans sa relation avec la littérature, constitue le point d’entrée de la recherche. La dynamique de variation, centrale à toute étude de la tradition orale est largement utilisée dans ces œuvres et va dans le sens d’une esthétique de la plasticité et de la polyphonie. La seconde partie s’intéresse au surnaturel et à la croyance qui, dans leur prise en charge, fonctionnent comme outil de subversion par la revalorisation des « savoirs discrédités ». Le positionnement de Hurston dans l’évolution du folklore en tant que discipline encourage à reconsidérer l’appellation de réalisme magique pour les romans de Morrison. Enfin, la mise en place d’un système d’interprétations alternatives et de sous-textes concurrents, en particulier en relation à la religion et aux contes, promeut la pluralité des possibilités herméneutiques qui agit pour la réhabilitation de discours minorés par des discriminations de classe, de race, de genre et de statut institutionnel
The present work seeks to demonstrate how the use of folklore, both as a discipline and as objects, leads to subversion in the works of Zora Neale Hurston and Toni Morrison. A questioning of folklore (nature and origin of the items, definition of the discipline) sheds new light on literary issues such as identity formation and assignation or power relationships. In a transdiciplinary approach that goes beyond using resources from separate fields, this study aims at assessing how much they modify one another. Because she was both an anthropologist and a fiction writer, Hurston embodies the interaction between literary and folkloric materials. Her polymorphic work blends fiction with folklore and vernacular with poetic language. The epistemological, political and literary issues it reveals are crucial to Morrison’s writing and allow a better understanding of her crafting of a discourse oriented towards plurality and performance. The study of the interplay between orality and literature shows that variation, central to the oral tradition, infuses the corpus, promoting plurality and polyphony. The second part focuses on beliefs and the supernatural: their endorsement challenges a hierarchical order by giving value back to « discredited knowledge. » Hurston’s positioning within folklore as a discipline and its evolution leads to a reexamination of the concept of « magical realism » used for Morrison’s novels. Finally, a system of alternate interpretation and competing subtexts, especially concerning religion and folktales, supports multiplicity in the interpretative possibilities and enables the rehabilitation of forms of discourse depreciated because of social, racial, gender and institutional discriminations

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20

Becker, Zora [Verfasser]. "Die Zukunft der Dorfentwicklung im Lichte neuer Verantwortungsstrukturen und Planungsmethoden / Zora Becker". Vechta : Universitätsbibliothek Vechta, 2021. http://d-nb.info/1239179529/34.

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21

Rembold, Robert. "Does Running in the family leave Dust tracks on a road? : a traveler's guide to inscribing sujective ethnicity". Mémoire, Sherbrooke : Université de Sherbrooke, 1999. http://savoirs.usherbrooke.ca/handle/11143/2119.

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22

McNulty, Lori. "Contagious poetics : rumour, ritual and resistance in Zora Neale Hurston's Tell my horse". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0028/MQ50545.pdf.

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23

Candia, Michela Rosa di. "\'Signifyin(g)\' womanhood: the short fiction of Zora Neale Hurston and Alice Walker". Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-03092008-163701/.

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O presente trabalho de doutorado focaliza as construções de feminilidade negra no conto não publicado \"Under The Bridge\", de Zora Neale Hurston assim como os já publicados \"Sweat\", \"Spunk\" e \"The Gilded Six-Bits\" em comparação com \"Roselily\", \"Really, Doesn\'t Crime Pay?\", \"Coming Apart\" e \"Porn\", da autora contemporânea Alice Walker. Ao supor que Alice Walker \'significa\' ou \'relê\' o trabalho de Hurston, que escreveu durante a época da Renascença no Harlem, a tese tem como objetivo investigar os elos de ligação entre as duas escritoras, focalizando a maneira pela qual suas protagonistas femininas contestam ou aceitam os parâmetros determinantes do \"verdadeiro culto de feminilidade\". Conclui-se que a apresentação das personagens femininas pelas escritoras negras simbolicamente questiona a representação da sexualidade e racismo como uma tentativa de tornar visível o processo de libertação das amarras da sociedade americana no momento de cada produção literária, contribuindo desse modo para o desenvolvimento da crítica literária negra. Na introdução desse trabalho, um panorama sobre o desenvolvimento da escrita por mulheres negras é apresentado, considerando-se leitores não pertencentes ao contexto cultural norte-americano, especialmente pelo fato da tese ser desenvolvida no Brasil. Portanto, essa seção focaliza alguns aspectos sobre a vida de Zora Neale Hurston e Alice Walker, assim como os fatores históricos, sociais e ideológicos que influenciaram a formação dessas autoras. No primeiro capítulo, dedicado à análise dos contos de Hurston, é essencial entender como a violência psicológica cometida contra as personagens femininas por seus parceiros é denunciada no gênero do conto, já que a tradicional dicotomia dominação masculina e subordinação feminina é perpetuada. Embora Hurston não desenvolva protagonistas autônomas e independentes, a escritora outorga o poder a essas personagens por meio da ligação com as raízes culturais. O capítulo divide-se em três momentos: o espaço do lar nas relações matrimoniais, o espaço cósmico/ simbólico na constituição das personagens e o espaço da linguagem no uso do inglês negro vernacular como meio de afirmação. O segundo capítulo traz a análise dos contos de Alice Walker como \"Roselily\" e \"Really, Doesn\'t Crime Pay? , inseridos na coletânea In Love & Trouble- Stories of Black Women e \"Coming Apart\" e \"Porn\", da coletânea You Can\'t Keep a Good Woman Down. O capítulo demonstra a agência das protagonistas e a maneira pela qual as opressões sofridas por instituições como a família, o casamento, os meios de comunicação por meio das imagens de revistas pornográficas e os estereótipos criados pela tradição branca limitam as possibilidades da agência feminina. Dessa forma, a questão da agência mostra-se relacionada às identidades negociadas a partir do momento em que as normas de feminilidade são (des) construídas. Diferentemente do primeiro capítulo em que as vozes de Vangie, Delia Jones, Lena e Missie May se inter-cruzam na análise, optou-se aqui por uma divisão temática. Logo, \"Papéis de Gênero no Espaço das Relações Matrimoniais\" e \"Questionando Identidades\" referem-se aos contos \"Roselily\" e \"Really, Doesn\'t Crime Pay?\" Os contos que abordam a questão da pornografia, \"Coming Apart\" e \"Porn\", são trabalhados nos itens: \"Reificação das Mulheres\", \"O Espaço Pornográfico\" e \"Tornando-se Sujeitos\" No terceiro capítulo verificam-se as diferenças de agência feminina em resposta aos parâmetros de feminilidade negra assim como analisam-se as estratégias narrativas usadas por ambas escritoras. De início, os fundamentos teóricos de Harold Bloom sobre a \'angústia da influência\' e os escritos feministas sobre a tradição literária das mulheres a partir do século XIX abrem caminhos para o trabalho crítico de \"significação\" proposto por Henry Louis Gates. No contexto negro, significar sugere a repetição do passado, mas com a inserção de novos elementos. Com base nessa teoria, o capítulo estabelece Hurston como a pioneira no desenvolvimento da tradição da escrita negra feminina ao relacioná-la com sua contemporânea Alice Walker. Ao utilizar teorias do multiculturalismo crítico propostas por Gates e Homi Bhabha e do dialogismo de Mikhail Bakhtin, o capítulo considera a desconstrução do signo negro, a transformação dos sujeitos da cultura no processo de (não) desestabilização dos papéis de feminilidade negra e propõe uma classificação acerca dos tipos de agência segundo os postulados de lingüistas-antropólogos. No início desse capítulo, assim como nos anteriores, um breve resumo dos principais tópicos a serem abordados é apresentado bem como uma conclusão parcial. Em considerações finais, as principais questões suscitadas no decorrer do trabalho são retomadas. O processo de significação em que Walker revisita a obra de Hurston aponta para as distintas caracterizações de suas respectivas personagens no gênero de contos. Nesse sentido, é possível pensar na multiplicidade de representações da mulher negra e suas especificidade no processo de libertação das amarras opressoras da sociedade excludente.
This doctoral research analyzes from a Brazilian perspective the constructions of black womanhood in Zora Neale Hurston\'s unpublished short-story \"Under the Bridge\" and published short stories \"Sweat\", \"Spunk\", and \"The Gilded Six-Bits\". The Hurston stories are compared to \"Roselily\", \"Really, Doesn\'t Crime Pay?\", \"Coming Apart\" and \"Porn\", written by the contemporary author Alice Walker. Taking as a starting point that Alice Walker\'s narratives \'signify\' on the work of Hurston, who wrote during The Harlem Renaissance (1920), this thesis aims to investigate the threads that connect both writers by focusing on the ways in which their female protagonists question or accept the parameters of \"the cult of true womanhood\". The conclusion shows that the portrayal of black women characters symbolically questions representations of sexuality and racism in an attempt to make visible the process of liberation from the constraints of American society at the time of each author\'s literary production. Thus the authors contribute to the development of black literary criticism as well as to the tradition of black women writers.

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Teltschik, Zora Katharina [Verfasser] y Jan [Akademischer Betreuer] Wehkamp. "Regulation of antimicrobial peptides in the gastrointestinal tract / Zora Katharina Teltschik ; Betreuer: Jan Wehkamp". Tübingen : Universitätsbibliothek Tübingen, 2019. http://d-nb.info/1205002251/34.

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Vass, Verity. "Aspects of narration and voice in Zora Neale Hurston’s Their Eyes Were Watching God". The University of the Western Cape, 2017. http://hdl.handle.net/11394/6467.

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Masters of Art
Zora Neale Hurston is a significant figure in American fiction and is strongly associated with the Harlem Renaissance, the period noted for the emergence of literature by people of African-American descent. Hurston worked as a writer of fiction and of anthropological research and this mini-thesis will discuss aspects of her novel, Their Eyes Were Watching God, first published in 1937. While the novel traces the psychological development of the central female character, Janie Mae Crawford and, thus, demonstrates several features of a conventional Bildungsroman, the novel also contains some intriguing innovations in respect of narration and voice. These innovations imply that the novel can be read in terms of the qualities commonly associated with the Modernist novel. This contention becomes significant when it is understood that a considerable degree of critical responses to the novel have discounted these connections. The novel is widely accepted to be a story about a woman’s journey to self-actualisation through the relationships she has with the men in her life. Much of the criticism related to the novel is based on this aspect of it, with many stating that Janie’s voice is often silenced by the third-person narrator at crucial moments in the text and that, as a consequence, she does not achieve complete self-actualisation by the end of the novel. This thesis will examine the significance of the shifts between first-person and thirdperson narration and the manifestations of other voices or means of articulation, which give the novel a multi-vocal quality. The importance of this innovation will also be considered, particularly when it is taken into account that Hurston sought to incorporate some elements associated with the oral tradition into her work as a writer of fiction.

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Teltschik, Zora [Verfasser] y Jan [Akademischer Betreuer] Wehkamp. "Regulation of antimicrobial peptides in the gastrointestinal tract / Zora Katharina Teltschik ; Betreuer: Jan Wehkamp". Tübingen : Universitätsbibliothek Tübingen, 2019. http://d-nb.info/1205002251/34.

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Alva, Rodrigo Carvalho. "Zora Neale Hurston & Their Eyes Were Watching God: a construção de uma identidade afro-americana feminina e a tradução para o português do Brasil". Universidade do Estado do Rio de Janeiro, 2007. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=462.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
A presente dissertação possui dois objetivos principais. O primeiro, presente na parte I, é analisar a construção identitária feminina da personagem principal da obra Their Eyes Were Watching God, de Zora Neale Hurston. Sendo assim, a primeira parte desta dissertação é composta de quatro capítulos, sendo que ao longo dos três primeiros, antes da discussão propriamente dita, o trabalho busca aproximar o leitor da discussão. Para isso, os três capítulos iniciais têm o intuito de deixar o leitor familiarizado primeiro com a autora, depois com suas obras e, por último, com o momento histórico vivido pelos Estados Unidos no período do movimento cultural afro-americano conhecido como Harlem Renaissance. O segundo objetivo deste trabalho é analisar a tradução da obra, Seus Olhos Viam Deus, para o português e, se possível, fazer sugestões para as encruzilhadas e obstáculos tradutórios que porventura tenham sido enfrentados pelo tradutor. Esta dissertação visa com isso apresentar soluções que possam ser utilizadas em futuras traduções de obras de escritoras afro-americanas para o português do Brasil. Portanto, para isso, a segunda e a terceira parte deste trabalho, compostas de mais três capítulos, trazem uma revisão sobre as teorias tradutórias recentes e, em perspectiva inovadora, destacam pontos a serem abordados na discussão
The present dissertation has two main goals. The first, in part I, is to analyze the construction of the female identity of the main character of the novel Their Eyes Were Watching God, by Zora Neale Hurston. Therefore, four chapters compose the first part of this work. In the first three, before the discussion, the text tries to bring the readers closer to the discussion still to come. In order to do this, these initial chapters aim to make the reader more familiar with the author, then with her work, and, last but not least, with the historical moment in the United States during the period of the African-American cultural movement known as the Harlem Renaissance. The second goal is to analyze the translation of the novel, Seus Olhos Viam Deus, to Portuguese and, if possible, to make suggestions for the translation crossroads and obstacles that the translator might have faced. By doing this, this dissertation aims to present solutions that may be used in future translations to Brazilian Portuguese of works by African-American writers. Therefore, the parts II and III of this work, which are composed by three more chapters, bring a literary review about recent translation theories and, through an innovative perspective, detach a few points which are going to be subsequently discussed.

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Ondieki, Benjamin Orina. "The denunciation of patriarchy and capitalism in Zora Neale Hurston’s Their Eyes Were Watching God". Thesis, Wichita State University, 2008. http://hdl.handle.net/10057/2058.

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The figuration of Janie in Hurston’s Their Eyes Were Watching God is an undeniable contestation of gender oppression. The contours of previous criticism have mapped out various directions of arguments, some of which make feminism a sort of critical mantra of Hurston criticism. In spite of such existing claims that the novel challenges the premises of women’s oppression within the African American social milieu, a closer look at the text shows that critics have not exhausted all that needs to be said on this subject. This essay premises its argument on the assertion that Their Eyes protests entrenched patriarchy and middle class or bourgeois capitalism. These two ideologies dominate Janie’s grandmother’s mind, and compel her to teach the protagonist to submit and accept inferior gender status, hence affirming the argument that women as well as men contribute to the existing patriarchal order. Indoctrinated into this system by her grandmother, Janie experiences three marriages that make her realize that she can no longer live according to her grandmother’s wishes. Instead, she makes personal efforts to denounce capitalist patriarchy in order to live her life to the fullest. She explicitly tells her friend Pheoby, “Ah done lived Grandma’s way, now Ah means to live mine” (114). Janie’s process of self discovery brings to the surface complex gender oppression which cross the racial and class divide. My project will use radical feminist and Marxist feminist theories to look at Janie’s three oppressive marriages, her support at the trial from white women, and the feminist significance of the catastrophic hurricane at the end of the novel. This natural phenomenon, I intend to argue, is symbolic of a feminist, anti-capitalist revolt which powerfully articulates Marx’s theory with regards to capitalism’s appropriation of women and nature for purposes of exploitation.
Thesis ([M.A.] - Wichita State University, College of Liberal Arts and Science, Dept. of English

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Lewis, Jennifer. "Variations around a theme : the place of Eatonville in the work of Zora Neale Hurston". Thesis, University of Warwick, 2014. http://wrap.warwick.ac.uk/65214/.

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Zora Neale Hurston is a complicated figure whose work has always aroused contradictory responses. During her lifetime she was often more readily appreciated by white readers who enjoyed her boisterous accounts of apparently unthreatening 'Negroes', than by other African American writers who felt that she pandered to white stereotypes, simplifying the black experience and the black psyche. Neglected for several decades, Hurston was again brought to the attention of literary and cultural critics in the late seventies by Robert Hemenway and Alice Walker, who published seminal reconsiderations of her work. Since then Hurston has become a central figure, not only in the African American canon, but also in the mainstream, becoming, to paraphrase the critic Hazel Carby, a veritable industry in her own right. Yet she remains a writer who evokes mixed responses. For some she is an exemplary Womanist and an uncomplicated role model. For others, though, she is a reactionary individualist who offers her readers little more than escapism and unexamined nostalgia. Particularly contested is the sort of African American space Hurston describes in her work. Centred on the all-black town of Eatonville, it has seemed to some an ideal space worth recovering for the potential it possesses for sustaining a model of authentic African American life. For others though, it has seemed an irrelevant and reactionary retreat from the complexities and realities of twentieth century life and an ideal, which has little relevance for an increasingly urban black population. In this thesis I intend to examine more closely the space and place that Hurston creates in order to argue that the Eatonville of her texts is more complex and ambiguous than either of these accounts allow.

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Ondieki, Benjamin Orina Griffith Jean. "The denunciation of patriarchy and capitalism in Zora Neale Hurston's Their Eyes Were Watching God". A link to full text of this thesis in SOAR, 2008. http://hdl.handle.net/10057/2058.

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Cochran, Kimberly G. ""Ah ain't brought home a thing but mahself" cultural and folk heroism in Zora Neale Hurston's Their eyes were watching God and Ellen Douglas' Can't quit you, baby /". Atlanta, Ga. : Georgia State University, 2009. http://digitalarchive.gsu.edu/english_theses/64/.

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Thesis (M.A.)--Georgia State University, 2009.
Title from title page (Digital Archive@GSU, viewed July 29, 2010) Thomas McHaney, committee chair; Pearl McHaney, Mary Zeigler, committee members. Includes bibliographical references (p. 72-74).

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McGlamery, Thomas Dean. "Writing one's age : protest and the body in Melville, Dos Passos, and Hurston /". Digital version accessible at:, 2000. http://wwwlib.umi.com/cr/utexas/main.

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Wyndham, Karen Louise Smith. "Traffic in books: Ethnographic fictions of Zora Neale Hurston, Salman Rushdie, Bruce Chatwin, and Ruth Underhill". Diss., The University of Arizona, 2001. http://hdl.handle.net/10150/279845.

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This dissertation studies the works of four writers who attempt cross-cultural advocacy through writing fiction based upon their fieldwork or other travels. In order to explain cultural differences, however, all four writers inadvertently rely upon the very Orientalist stereotypes, the "ethnographic fictions," which they seek to undermine. Three underlying causes for this dynamic are identified and traced through works by the authors as well as contemporary post-colonial, queer, feminist, and ethnographic interdisciplinary scholarship. First, in order to explain the significance of native cultures in the language of the mainstream or dominant one, cross-cultural advocates must balance novelty with intelligibility. A critique of an epistemology of empire, then, better taps "ethnographic fictions" through mimicry, mockery, and minstrelsy, rather than appealing to abstract, ahistorical universals. Second, Odysseun myths remain a powerful set of presumptions about the relationship between travel, individuality, and empowerment. Yet the idea that freedom and free thought are both the goals and consequences of travel fails to account for the history of pilgrims, refugees, and community-based activists. Third, Orientalism and Anthropology are organized around the idea that sex/gender roles reveal the essence of indigenous cultures. The result is a disproportionate focus upon women's living quarters (harems, zezanas, huts), and indigenous sexuality (berdaches, hijras, shamen). For the four authors, the relationship between advocacy and self-identification is a crucial element. Close reading of the writers' texts reveals how they each seek validation of their sex/gender identities through investigations abroad. As queer, feminist, and/or bi-cultural people, the writers are particularly sensitive to conventions of belonging and exclusion. This study reveals how advocacy and alienation interact in 20th-century literature and scholarship of the Other.

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Kim, Min-Jung. "Renarrating the private : gender, family, and race in Zora Neale Hurston, Alice Walker, and Toni Morrison /". Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 1999. http://wwwlib.umi.com/cr/ucsd/fullcit?p9926560.

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35

Lo, Olivia T. "A Proud Crow in a Pigeon's Nest: The Independent Zora Neale Hurston in "Mules and Men"". W&M ScholarWorks, 1991. https://scholarworks.wm.edu/etd/1539625674.

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Scott, Robin Patricia. "Being black and female : an analysis of literature by Zora Neale Hurston and Jessie Redmon Fauset". Thesis, Massachusetts Institute of Technology, 1986. http://hdl.handle.net/1721.1/33806.

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Chtitah, Abdelkader. "Paléo-environnements plio-pléistocènes et morphogènese actuelle dans le bassin de Ai͏̈n Zora (Rif oriental, Maroc)". Paris 10, 1998. http://www.theses.fr/1998PA100040.

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Le bassin de ain zora est l'une des nombreuses cuvettes du rif oriental nees de la tectonique tangentielle miocene. Son heritage geomorphologique plio-pleistocene comprend une grande diversite de formations sedimentologiques et geomorphologiques. Ce bassin a fonctionne comme une cuvette endoreique depuis le debut du pliocene jusqu'a la fin du quaternaire ancien. La phase lacustre et travertineusea dure pendant toute cette periode avec des changements de facies qui traduisent des changements climatiques dans le sens d'un assechement. L'espace lacustre qui, au debut du villafranchien occupe toute la cuvette heritee de la regression messinienne, se reduit de plus en plus au cours du temps, envahit dans un premier temps par les cones de dejection de type c4 et finalement par les glacis gv etles cones de dejection c3. A partir de la periode chaude qui a succede a la periode moulouyenne, le bassin a cesse definitivement de fonctionner en cuvette endoreique. Le reseau hydrographique qui a commence a se constituer et a etablir des liens avec le bassin du kert juste apres le moulouyen prend sa forme actuelle au cours du rharbien. La morphogenese actuelle est relativement active et est liee a l'action des pluies et des vents.

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Erickson, Stacy M. "Animals-as-Trope in the Selected Fiction of Zora Neale Hurston, Alice Walker, and Toni Morrison". Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc2227/.

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In this dissertation, I show how 20th century African-American women writers such as Zora Neale Hurston, Alice Walker, and Toni Morrison utilize animals-as-trope in order to illustrate the writers' humanity and literary vision. In the texts that I have selected, I have found that animals-as-trope functions in two important ways: the first function of animal as trope is a pragmatic one, which serves to express the humanity of African Americans; and the second function of animal tropes in African-American women's fiction is relational and expresses these writers' "ethic of caring" that stems from their folk and womanist world view. Found primarily in slave narratives and in domestic fiction of the 19th and early 20th centuries, pragmatic animal metaphors and/or similes provide direct analogies between the treatment of African-Americans and animals. Here, these writers often engage in rhetoric that challenges pro-slavery apologists, who attempted to disprove the humanity of African-Americans by portraying them as animals fit to be enslaved. Animals, therefore, become the metaphor of both the abolitionist and the slavery apologist for all that is not human. The second function of animals-as-trope in the fiction of African-American women writers goes beyond the pragmatic goal of proving African-Americans's common humanity, even though one could argue that this goal is still present in contemporary African-American fiction. Animals-as-trope also functions to express the African-American woman writer's understanding that 1) all oppressions stem from the same source; 2) that the division between nature/culture is a false onethat a universal connection exists between all living creatures; and 3) that an ethic of caring, or relational epistemology, can be extended to include non-human animals. Twentieth-century African-American writers such as Hurston, Walker, and Morrison participate in what anthropologists term, "neototemism," which is the contemporary view that humankind is part of nature, or a vision that Morrison would most likely attribute to the "folk." This perspective places their celebration of the continuous relations between humans and animals within a spiritual, indeed, tribal, cosmological construction. What makes these particular writers primarily different from their literary mothers, however, is a stronger sense that they are reclaiming the past, both an African and African-American history. What I hope to contribute with this dissertation is a new perspective of African-American women writers' literary tradition via their usage of animals as an expression of their "ethic of caring" and their awareness that all oppression stems from a single source.

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Coloma, Penate Patricia. "Foot Tracks on the Ocean: Zora Neale Hurston and the Creation of an African-American Transcultural Identity". Digital Archive @ GSU, 2012. http://digitalarchive.gsu.edu/english_diss/91.

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This project focuses on African American and Afro- Hispanic literature and folklore. Specifically, I employ Fernando Ortiz’s theory of transculturation. Ortiz makes the case that a new Afro- Cuban identity is created with the intermingling of African, Spanish and native inhabitants of Cuba. Using Ortiz’s critical framework as the foundation of my study, I undertake a new critique of Zora Neale Hurston’s portrayal of African American identity. Analyzing Hurston’s work through the model of transculturation, I examine the parallel between her work and that of Lydia Cabrera, a Cuban ethnographer whose work represents Afro-Cuban identity as a transcultural one. Establishing this comparison, I reflect on the similarities and differences among their strategies of representing Transculturation in African- based identities. I look at their works from a womanist lens to analyze how their female anthropologist status influenced their folkloric portrayals and how they enacted a political agenda that emphasized female agency. I also analyze the oral aesthetic of their texts; in my opinion, Hurston and Cabrera reproductions of the spoken are ways to represent transcultural dialogue. Finally I compare their ethnographic studies of the African- based spiritual systems of Santeria and Voodoo.

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DuMont, Andrew Reilly. "Lyrical Fictions: Material Voice and Cultural Continuance in Cormac McCarthy, Zora Neale Hurston and Ray Young Bear". Diss., The University of Arizona, 2014. http://hdl.handle.net/10150/314136.

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This project is concerned with the role of the storyteller in the production and maintenance of human community. Starting with Roland Barthes's critique of romantic and modernist authorship in "The Death of the Author," I trace the parallels between literary and political authority in the globalized modern world, and ask if they mean that a revision of the author opens space for the reimagination of political community. To answer this question, I draw on recent discussions of cross-cultural comparison and theories of oral tradition to redefine literary voice and its relationship to modern textual authority. I then refer to the distinct cultural traditions that inform McCarthy, Hurston, and Young Bear to understand each author's focus on the material aspects of human speech, such as breath. The emphasis on these aspects of voice changes its use from a way to claim metaphysical certainty and political authority into a means for physical interaction that founds community in mutual vulnerability. The individual author thus becomes a participant in conversation, rather than one who intuits truth from the margins of human society, and the storyteller or political leader is able to take part in but not define the continuance of a given community. In making this argument, I use a study of poetics to ask students and teachers of modern American literatures to see the field as a site for the ongoing legislation of American community and identity, and suggest a method for engaging in comparative analyses that allows for the distinctiveness of different literary and cultural traditions while appreciating the possibilities in their resonating responses to the modern world.

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Lima, Kalina Saraiva de. ""Love is Lak de Sea": Figurative Language in Zora Neale Hurston's Their Eyes Were Watching God". [Johnson City, Tenn. : East Tennessee State University], 2002. http://etd-submit.etsu.edu/etd/theses/available/etd-0311102-144528/unrestricted/limak041902.pdf.

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Jablon, Rachel Leah. "Playing for the "center" "marginal modernism" in Sh. An-sky's "Der Dybuk" and Zora Neale Hurston's Polk County /". College Park, Md. : University of Maryland, 2004. http://hdl.handle.net/1903/1505.

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Thesis (M.A.) -- University of Maryland, College Park, 2004.
Thesis research directed by: Joseph and Rebecca Meyerhoff Center for Jewish Studies. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.

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Harper, Pamela Evans Foertsch Jacqueline. "Shared spaces the human and the animal in the works of Zora Neale Hurston, Mark Twain, and Jack London /". [Denton, Tex.] : University of North Texas, 2008. http://digital.library.unt.edu/permalink/meta-dc-9095.

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Nodari, Janice Inês. "The construction of identity in Alice Walker's The Color Purple and Zora Neale Hurston's Their Eyes Were Watching God". Florianópolis, SC, 2002. http://repositorio.ufsc.br/xmlui/handle/123456789/83954.

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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão. Programa de Pós-Graduação em Letras/Inglês e Literatura Correspondente.
Made available in DSpace on 2012-10-20T04:57:00Z (GMT). No. of bitstreams: 0
Este estudo tem por objetivo analisar a construção da identidade sofrida por Celie, a personagem principal no livro The Color Purple (1982) de Alice Walker, e Janie, a personagem principal no livro Their Eyes Were Watching God (1937) de Zora Neale Hurston. A abordagem empregada favorece a investigação dos aspectos: jornada, sensualidade/sexualidade, e comunidade na construção das identidades dessas personagens. A comparação entre os romances revelou que as personagens passam por um processo semelhante e usam uma estratégia semelhante, a de contar suas próprias histórias, para expor seu crescimento como sujeitos atuantes.

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Klepadlo, Joseph Stanley. "Zora Neale Hurston's Their eyes were watching God: A stylistic analysis and its application to the teaching of writing". CSUSB ScholarWorks, 1990. https://scholarworks.lib.csusb.edu/etd-project/529.

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Harper, Pamela Evans. "Shared Spaces: The Human and the Animal in the Works of Zora Neale Hurston, Mark Twain, and Jack London". Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc9095/.

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Living in tune with nature means respecting the natural environment and realizing its power and the ways it manifests in daily life. This essay focuses on the ways in which respect for nature is expressed through animal imagery in Zora Neale Hurston's Their Eyes Were Watching God, Mark Twain's "The Stolen White Elephant," Roughing It, and Pudd'nhead Wilson, and Jack London's The Call of the Wild. Each author encouraged readers to seek the benefits of nature in order to become better human beings, forge stronger communities, and develop a more unified nation and world. By learning from the positive example of the animals, we learn how to share our world with them and with each other.

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Roberson, Aqueelah. "SWEAT: THE EXODUS FROM PHYSICAL AND MENTAL ENSLAVEMENT TO EMOTIONAL AND SPIRITUAL LIBERATION". Master's thesis, University of Central Florida, 2007. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/3563.

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The purpose of this thesis is to showcase the importance of God-inspired Theatre and to manifest the transformative effects of living in accordance to the Word of God. In order to share my vision for theatre such as this, I will examine the biblical elements in Zora Neale Hurston's short story Sweat (1926). I will write a stage adaptation of the story, while placing emphasis on the biblical lessons that can be used for God-inspired Theatre. When viewing the stage adaptation based on Sweat, the audience members will understand how God-inspired Theatre aims to help members of society utilize their gifts and abilities to assist others in achieving spiritual stability. The members of the audience will also be informed of my vision to use this piece to inspire others to embrace cultural awareness and sensitivity. This is my vision--helping others to walk in their God-ordained destiny. With this in mind, I am using Sweat as a proposed play because it is closely related to the creation account as recorded in the Old Testament Book of Genesis. In this play, Adam and Eve are replaced with the characters Sykes and Delia Jones. The creation account is a very influential testimony because it is known throughout humanity. Its popularity is due to the fact that the Old Testament is the commencement of the Christian Bible. For those of the Jewish faith, the collection encompasses the Torah, the first five books of the bible--the law for everyday living-- as well as the history of God's promise to them. For Christians, the Old Testament is just as sacred, but they view its religious meaning as incomplete without the life, teachings, death, and resurrection of Jesus Christ detailed in the New Testament. Also, Muslims trace their religious roots to some of the figures in the Old Testament although they deny the religious significance of the work as a whole. In essence, the Old Testament is crucial to Western Civilization. This is why Sweat is so powerful. It takes an extremely familiar testimony and shares pertinent messages that help people to become productive members of society. In order to show how effective Sweat is in helping others to live spirit-filled lives, I will use creative staging that will place the characters in the personal space of the audience members. I will achieve this by: having the actors enter and exit from the audience; allowing certain scenes to take place within the audience; and having the actors deliver some lines to various audience members. I feel that by making the audience a part of the production, it will cause them to see that they are not any different from the characters in the play. At some point in their lives, theatergoers have encountered--or been intimate with--an Adam, an Eve, a Sykes or a Delia. This will cause them to not see Sweat as just a play, but as a valuable life lesson, triggering self-examination and initiating renovated thinking that helps people to become culturally aware and spiritually sound. It is imperative that the biblical messages in Sweat are conspicuous. Whereas the narrator normally describes Delia's facial expression or feelings, I plan to write in scenes where her thoughts are audible. Some of her thoughts will include moments when she is praising and worshipping God. This is apparent because she starts to emerge as a woman of strength as the story progresses. Her relationship with God is cultivated on a daily basis. This is why she is able to tolerate her husband's foolishness. Her husband, Sykes, does not commune with God. To demonstrate his lack of communion with God, I will stage him being resistant to her times of worship--as he normally is according to the narrator. Clearly, the marriage is unbalanced. One partner is trying to please God, and the other is trying to please self. This is not how God intended marriage to be. In the New Testament Book First Peter, it states in the third chapter and seventh verse "husbands are to dwell with them in understanding, giving honor to the wife … being heirs together of the grace of life." Showing the burdensome consequences of destructing God's original design will pull on the hearts of audience members because they have encountered or known someone who is presently dealing with the consequences of this disobedient act. I will further reiterate the need for living a spirit-filled life by using costumes, scenic devices, and lighting to convey the godly and ungodly character traits that are embodied within the story. Through the use of colors and patterns, I will project the internal state of the character as in relation to God's instructions. I will work with a lighting designer in order to help convey the moods of the various scenes. The lighting techniques we choose will help to establish the thoughts and personalities of the characters. These feelings will transcend the minds of the audience and cause them to take the biblical messages into very deep consideration. The actors are the final ingredients in making Sweat an awe-inspiring, informative piece. Words are what they are, what one perceives them to be, while on paper. It is the job of the actor to give life to these words, cause them to live in the atmosphere, and to make the character come alive. Until the actor embodies the very heart of a character, the message in God-inspired Theatre will not be able to come forth and propel audience members to have a spiritual awakening. This is why people cannot just read Sweat. They must see the trials and journeys in order to receive life-changing revelations from the testimonies within the play.
M.F.A.
Department of Theatre
Arts and Humanities
Theatre MFA

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48

Watkins, Angela Denise. "Mambos, priestesses, and goddesses: spiritual healing through Vodou in black women's narratives of Haiti and New Orleans". Diss., University of Iowa, 2014. https://ir.uiowa.edu/etd/5875.

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My dissertation titled "Mambos, Priestesses, and Goddesses: Spiritual Healing Through Vodou in Black Women's Narratives of Haiti and New Orleans" reclaims the practice of Vodou as an integral African spiritual tradition through fiction by black women writers. I discuss how the examination of Vodou necessitates the revision of colonial history, serves as an impetus for reevaluating the literary representation of the black female migrant subject, and gives voice to communities silenced by systemic oppression. I parallel novels by contemporary women writers such as Erna Brodber, Jewell Parker Rhodes and Edwidge Danticat with Zora Neale Hurston's ethnographic research in the early twentieth century in order to examine how Vodou is utilized as a literary trope that challenges racist, stereotypical representations of African spirituality in American popular culture. It is also an examination of the shared socio-cultural history between Haiti and New Orleans that coincides with political and environmental changes. Although Vodou has been disparaged as primitive magic, my work demonstrates its profound social, cultural, and political significance; and its important transformations from a nineteenth-century practice to a twenty-first century strategy of survival.

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49

Nordhoff-Beard, Josephine. "The Paradoxes of Autobiography, Fiction, and Politics in Their Eyes Were Watching God". Scholarship @ Claremont, 2020. https://scholarship.claremont.edu/scripps_theses/1394.

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This thesis establishes parallel claims about how women’s autobiography as a genreintersects with fiction as a means to share an author’s opinions on issues of race, gender,class, and topics that the publishing industry deems ‘controversial’, using Zora Neale Hurston’s works Their Eyes Were Watching God and Dust Tracks on a Road as points of comparison. Throughout this thesis, I will show that Their Eyes Were Watching God is a novel that by virtue of its content is a political novel because of how it represents an overlooked demographic of people and the novel’s ripple effect on later black female writers as one of the first novels that celebrates black female joy. TEWWG does the work of literary representation that publishers did not allow DToaR to do because of the fear that the book would not sell as well if it included more of Hurston’s own political perspective. The second claim that I make is that TEWWG is first dismissed because of its lack of ‘seriousness’ in subject matter by Hurston’s peers, but its use of nature metaphors like the horizon and the tree and motifs like desire and dreams allow for issues of gender, race, class, and love to be discussed because they are shrouded in a literary image disguise.

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50

Bordin, Marcela Ilha. "Identities in context : gender and race in William Faulkner's Light in august and Zora Neale Hurston's Their eyes were watching god". reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2015. http://hdl.handle.net/10183/131632.

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Este trabalho é dedicado à análise de duas obras ficcionais, “Their Eyes Were Watching God”, de Zora Neale Hurston, e “Light in August”, de William Faulkner. O ponto de partida da análise é a ideia que identidades são construídas de acordo com injunções discursivas específicas, que variam de contexto para contexto. Para tanto, foram analisados os dois personagens principais dos textos, Janie Crawford, uma mulher negra, e Joe Christmas, um homem cuja identidade racial é desconhecida. A comparação entre os dois se baseou na forma como ambas as identidades são construídas nos romances, em relação ao seu acesso à língua e a possibilidade de articulação dentro dela, e ao contexto no qual estão inseridos.
This research is dedicated to the analysis of two fictional works, Their Eyes Were Watching God (1937) by Zora Neale Hurston and Light in August (1932) by William Faulkner. The starting point of the analysis is the idea that identities are constructed according to specific discursive injunctions, which vary from context to context. The study is focused on the main characters of both novels, Janie Crawford, a black woman, and Joe Christmas, a man whose racial identity is unknown. The comparison between the two characters is based on how their identities are constructed in the novels in relation to their access to language and their possibility of articulating within it, and the context in which they are inserted.

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